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The Lexicomythographic Guide to Audramaturgical Genesis

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II. IV. Give: The Characters • ERA_Æ

Dimension	Axis	Value
1	Vertical	Frequency Bands
2	Horizontal	Stereo Field
3	Depth	Time-based Modulation
4	Thematic	Concept
5	Interpretative	Meaning
6	Divine	Creation

Table I: Synopsis of Audramaturgical Findings (Interpeted via Endivean Analysis). Source: Myo Endive in transtemporal collaboration with Maestræ ⧖eno. ERA_Æ/i_o

The {First Wall | Vertical Dimension}
In production theory, the vertical field can be conceptualised as the 'first wall' of the dramaturgical nature of a sonic composition. The band of frequencies, from bellowing, murky low-ends of instrumentation such as timpani, to the hissing, piercing high-ends of something like a hi-hat, are placed on a logarithmic scale from down, to up. In a theatrical production, the 'first wall' nomenclature is assigned to the back face of the space, directly facing the audience, providing the most constant presence. Furthest away, but affording a foundation upon which every other component is built. The frequencies of a piece of music provide dynamism of pitch, leading to scales and notation (or lack thereof) - these strata of sound, whether respected or rebelled against, are essentially the perceptive underpinnings of our definition of music itself.

The {Second Wall | Horizontal Dimension}
The horizontal axis of a mix may be mapped to the stereo field, from left to right channels perceived by the two human ears. These occur in tandem with frequency bands; both high- and low-end traces may be heard in either the left and/or right. The horizontal axis is affected by compositional components such as panning, width (mono vs. stero recording), phase relationships, and mid/side balance.

The {Third Wall | Depth Dimension}
The z-axis (sounds as 'close' or 'far') within the drama of a mix would refer to the placement of players or aspects of set design within a scene -- these occur through time. Time-based effects, such as reverb, delay, and modulation (the dynamic change of effects across time) create the suggestion of closeness (generally 'dry' sounds, stripped of effect) and distance (generally 'wet', effect-laden audio traces).

The {Fourth Wall | Thematic Dimension}
'The fourth wall' in both a stage and musical production denotes the barrier that exists between the audience and artist -- for theatre, this denotes the suspension of disbelief that the events of the play occur within a universe separate from ours. The fourth wall of any art form may be broken, with players and/or creators directly addressing the audience members or viewer. In audramaturgical practice, this may be seen as the thematic axis of a piece -- perhaps afforded by lyrical content, cover artwork, and surrounding lore of the work. Stretching past this thematic dimension in this context may be based around breaking through the 'universe' that a musical composition builds by existing in a packaged whole -- perhaps through the writing of a pseudoacademic theoretical framework written in order to afford the creation of the work itself the opportunity to stretch out of its container, and become a vehicle across which the themes explored within may traverse the aesthetic distance between artist and audience.

The {Fifth Wall | Interpretative Dimension}
The interpretive field exists on the other side of the conceptual 'moat' discussed prior. The listener's or viewer's own personal experience and collected series of events leading up to the experience of the work in question together form an amalgamative ground within which the seed of the artist's efforts (whether made known in full to the audience or not) is placed, and grows (or indeed withers) according to the circumstances of the perceiver and the environmental conditions placed upon the system at the time at which they receive the art. The fifth wall occurs at the interface between two intents - that of the artist and that of the audience; the two in a mutually exclusive, and yet inextricably linked, dance.

The {Sixth Wall | Divine Dimension}
The divine field is a conversation between both the audience and the artist with their individual belief in something greater than themselves, which may be known to them consciously or not. This may take the form of the collective mind, a canonical deity, a cause, aspiration, or authority figure of some kind.
In every case, this is made manifest, or drawn down into this physical realm, in the form of what we know as Art.